For Found in Adobe Stock, It’s Nice That has commissioned two creatives to explore the world of Adobe Stock, and make a series of works using their individual discoveries. Starting from the same jumping off point, the project follows the journey each creative took as their paths diverged into the strange and wondrous depths of the huge image, video and 3D library, and how they used what they found to make beautiful and hypnotic final pieces.
For Found in Adobe Stock, It’s Nice That has commissioned two creatives to explore the world of Adobe Stock, and make a series of works using their individual discoveries. Starting from the same jumping off point, the project follows the journey each creative took as their paths diverged into the strange and wondrous depths of the huge image, video and 3D library, and how they used what they found to make beautiful and hypnotic final pieces.Natalia Stuyk is first and foremost a video artist, known for her surrealist digital landscapes and super saturated hues. Her commissioned work often comes from the fashion industry, for which she creates films and immersive worlds to add a unique edge to a label’s latest wares. This aspect of her portfolio, however, stems from the work she creates off her own back. “It’s a good calling card,” she explains of her passion projects. “The more personal work I do, the more commissions come in.” That way, she guides her commercial practice in whatever fantastical directions she’d like it to go.With every project she tries something new, taking an element of a previous project that intrigued her most, and running with it in another direction. “It’s an iterative process,” she explains. “This way I’m always adding another tool to my palette.” Rather than letting a project evolve from the start, Natalia prefers to set herself a challenge and then work out how to achieve that aesthetic. “I envisage something and try to get to that point, like puzzle-solving,” she says. This is how she approached the Found in Adobe Stock brief, setting out with the idea to investigate the physical qualities of minerals.“I analysed my usual work, and broke it down to three themes: abstract shapes, manipulated landscapes, and portraits. These are made into warping loops and organic, fluid motions. I started to have a look through Adobe Stock – they have millions of images so it took a while! I proposed a few ideas, but the one I was most excited about was looking at minerals. I’m interested in contrasting textures, colours and shapes, and my work often ends up being a study of the motion of these things. I always find myself imagining how still things would move.”Historically, Natalia would be inclined to develop a series using the same manipulation process for every image. For Found in Adobe Stock, however, there was no fixed theme and the variety of what she discovered in Adobe Stock’s library inspired the artist to apply different techniques to each image. “I ended up extruding and layering them in different ways, using the same mineral basis,” she says. “I mixed and matched images I liked. There were so many mineral images – people like shiny things! I had to stop myself going for typical gems and crystals, so the majority of what I ended up using was agate – they have contour lines going through them that I could use for my images. I was looking for anything that I could instantly visualise moving.”Natalia separated the imagery into groups, and made moodboards to designate them into categories for each final piece. Each image is softened to give the series an illustrated look, and each piece has its own individual source of inspiration. One piece saw her make a tile out of a Stock image, cutting into the tile where the mineral’s contour lines fell and replacing sections of the image with other textures. In another, the artist says she interpreted the image more loosely. “I saw the lines of the mineral like the contour lines over a bird’s eye map of a mountain. Though the shapes are my own. I liked the tonal variation of those images.” For this piece, Natalia stacked and repeated the images using Creative Cloud over 300 layers.One image was inspired by the negative space in gemstones; this, in contrast to the previous image, only featured three layers. One plays with surrealist perspectives, with clouds in the background, alluding to other dimensions; while another refers to time-lapse images of microscopic cells growing.
For Found in Adobe Stock, It’s Nice That has commissioned two creatives to explore the world of Adobe Stock, and make a series of works using their individual discoveries. Starting from the same jumping off point, the project follows the journey each creative took as their paths diverged into the strange and wondrous depths of the huge image, video and 3D library, and how they used what they found to make beautiful and hypnotic final pieces.Rosanna Webster is a London-based collage artist and filmmaker whose work for clients such as Dior, Adidas, Island Records, the V&A and Stella McCartney is dreamy and kaleidoscopic. Starting with fashion portraits and landscape photography, she adds layers of texture, tone and moving image, bringing together a dynamic composition showing the original imagery in a totally new and invigorating way.“I work across mediums, between collage, photography and film for fashion and advertising clients,” she explains. “I’m often asked to bring movement into stills, or to take simple imagery and create a new context for these, building a digital set and breathing new life into images. I like pairing and pulling together colours, textures, and shapes.” Take Rosanna’s repeated work for Dior, for example, where she has used this process to build an atmosphere around catwalk stills and gifs. For Esprit Dior Tokyo’s show, this meant adding close crops of tactile details or futuristic room shots to channel the sci-fi vibe; whereas for Dior’s Resort Cruise show, a palette of pastels, palm trees, blue skies and soft architectural curves gave the apparel a holiday-inspired context.For Found in Adobe Stock_, the artist began at a fork in the road, so to speak. Given the simple brief to explore the library and make a series of works from her findings, she felt drawn towards two initial routes: “either a free-form playful animation of abstracted pattern and colour, or a series of animated collage portraits… we decided on the latter. I wanted to show the calibre of the portrait assets I found. I also wanted to create work solely from Adobe Stock that felt removed from the preconceived idea of what a stock library may offer – for the work to be sensitive and refined.”Rosanna began with a fairly general search, adding detail to her descriptions and using the “find similar” function to dig down through the seemingly endless options and find imagery that jumped out to her. Accustomed to sifting through high end fashion imagery, she flicked through the range of assets and photographic styles, looking for shots that “felt elevated, challenging the idea of the standard of photography you might expect to find.” These span stunning and diverse portraits, sunset-hued landscapes and skies, grand architectural columns and arches, floral and botanical motifs, and patterns and textures found in urban and natural environmental photography.This eclectic bank of imagery was then saved and organised into categorised folders within Adobe Stockcontent=UK&sdid=HQZ6X9M9&mv=affiliate, such as “floral and plants” or “sky”. Then Rosanna moved across to Photoshop, where she could access the folders directly via the Library tab. “This allows you to experiment and try things, then once you decide something works and license the image, this is automatically linked and swapped in to the Photoshop composition – it’s a really streamlined way of working.”The final images feature a combination of still and subtly moving images. “The collages move through various stages, and at some point click into place and feel right. It’s almost like solving a jigsaw backwards, breaking images apart and reassembling these together. I wanted the movement here to be quite subtle, for the gifs to move back and forth almost hypnotically,” Rosanna explains.Image one uses a photo apparently torn and layered with another, revealing a luscious peony opening and closing its petals. Image two fuses another portrait seamlessly with architectural structures, against a backdrop of desert dunes. Images three and four use black and white portraits overlaid with translucent silhouettes of flowers, the former seemingly flickering in dappled sunlight, the latter adorned with a subtle gradient of colour. With the artist’s signature grainy textures and beautiful saturated colour giving the feel of old film photographs, the overall series has a nostalgic and utopian aesthetic.